That's what I experience in my voice, anyway. When I start in high falsetto it's easy to adduct the folds and the sound is very similar to a that of a female alto. If I take the falsetto down to its lower limits (preventing the voice from transitioning into chest voice), the sound becomes breathy and flute-like. I experience no transition while doing this, so to me it seems that the vibration pattern of the folds stays the same, the only difference being that as I get lower, it becomes harder and harder to adduct the folds.
Looking at it this way, couldn't Garcia's falsetto then be equated to the lower part of 'light mechanism' ? If this is true then Garcia's falsetto and the female middle voice would be one and the same thing, making it quite logical that he placed the falsetto in the middle between chest and head registers.
> > i remember, with some confusion, marilyn horne making note of garcia's > use of the term 'falsetto'. she never really explained his use (and i got > the impression she might have thought it was a mistake) but, your > explaination makes perfect sense now. if we define falsetto as phonation > without complete adduction, i'm wondering if the folds would close more or, > come closer to resembling complete adduction, (without compression) as pitch > is increased, using the same set-up. > > mike
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